In Chapters 1 and 2 there are definitions and a review of electroacoustic music, and then visualization generally and as applied to music. Chapter 3 is a review of specific and relevant literature as regards to the visualization of electroacoustic music. Chapter 4 introduces the concepts of imagining as opposed to discovering new sound, and what is important to this research about these terms; in addition what is meant and indicated by them. Chapter 5 deals with the responses that composers currently working have made to the enquiry concerning visualization. In this chapter these responses are dealt with as case studies. In a similar way, Chapter 6 looks at some examples of historical work in electroacoustic music, again as case studies. In Chapter 7 a taxonomical structure for the use of visualization in electroacoustic composition is established and derived from the case study results. Chapter 8 looks at relevant examples of software and how they offer visualization case studies. Chapter 9 looks at the place of the archive in various stages of the compositional process. Chapter 10 investigates the problems of visualizing musical timbre as possible evidence for future strategies. Chapter 11 offers some conclusions and implications as to the main research questions, as well as more specific outlines of potential strategies for the visualization of electroacoustic music.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:633677 |
| Date | January 2013 |
| Creators | Gray, David |
| Publisher | De Montfort University |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://hdl.handle.net/2086/10561 |
Page generated in 0.0016 seconds